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Some reflections on the 30th Anniversary of 'Messiah from Scratch'

In the beginning the prospect of getting through the first 'Messiah from Scratch' was daunting enough. There was no thought of anything beyond the excitement of trying something new. It was only affordable because four mad scientists agreed to share the cost—the now legendary Tuesday Partnership. I was active as an organizer of amateur musical events almost from the day Ann and I landed in the UK from Canada in 1966. We never intended to stay after my studies at Imperial College were finished, but the musical life of London quickly changed all that. My experience in Canada was limited to playing in military bands—a good way for a high school and university student to earn pocket money—but never had I played in any ensemble involving strings. What a revelation: real music, real musicians and real repertoire. It became my consuming passion, and the only way for a fair to middling clarinettist to get lots of playing was to become involved in organizing as well.

By 1970, as a Resident Warden of Imperial College Residences, I was living on site with my family less than 200 yards from the Albert Hall. So yes, I do claim credit for the idea, but my motive was quite modest: an opportunity to play in the Albert Hall—just as most of those here tonight have come to sing in these opulent surroundings. And that also explains why the first few performances used the Mozart Edition—it had clarinets! Little did I know that 'Messiah from Scratch' was the beginning of the end of my life as an amateur performer. Fortunately it was a gradual decline, which passed through a phase of conducting as well as (shock, horror) jazz and pop. Up until 1994 I would still find myself driving through the night to get home to Bath after another late-night gig.

The basic format of 'Messiah from Scratch' was decided in a flurry of activity in the spring of 1974. It was clear even then that to have any chance of holding down a real job at the same time, you had to start getting organized early. That is still why Messiah is launched before the summer: we just could not cope with the bookings and the organization simultaneously. Our events are spread out through the year, with bookings, ticketing and stage management timed to make life nearly possible—and I still have a 'real job' of sorts.

The first Messiah was mainly advertised by handing out leaflets on the pavements outside the Albert Hall throughout the 1974 Proms season, and somehow the response grew from a trickle to a flood as the idea spread by word of mouth. When BBC Television took up the story as a news item, it became a torrent. We owe conductor Gavin Park an enormous debt. No-one else was prepared to stand up and face whatever happened on that amazing first night, in the blaze of television lights and with the predatory media licking their lips for the expected catastrophe. It was of course a triumph! ‘Messiah from Scratch’ was repeated in 1975, and in 1976 the Tuesday Partnership put on its first May event which was called 'More from Scratch,' with extracts from Mozart's Requiem and Haydn's Creation.

In 1979, which was the fifth anniversary, Gavin's research took him on sabbatical to the USA, so we approached David Willcocks and asked him to conduct ‘Messiah from Scratch’. I remember well the first meeting in the awesome silence of his voluminous office at the Royal College of Music, which nestles between Imperial College and the Royal Albert Hall. David was polite and charming (as always) and we supplicants were enthusiastic about our brainchild, but almost apologetic for daring to hope that he would accept. I was astonished and delighted when he agreed. I suppose, as they say, the rest is history.

The Willcocks approach took 'Messiah from Scratch' 1979 to new heights, and was the first to be completely sold out. In retrospect I can see that from this point ‘Messiah from Scratch’ became an event organized primarily for the benefit of choral singers. Gavin Park gracefully deferred and happily played cello in the orchestra until his unfortunate early death from cancer.

At a summer event in 1999, The Really Big Chorus had the honour of the first (and second) performances of Sing!, a new composition by Sir David. For some time he had been planning a choral setting of his own words to Widor's Toccata, which was played on the Albert Hall organ by Jane Watts, with lots of bits for the orchestra to do as well. It was rapturously received, and I wish I had realised at the time that it was his 50th performance with us. We have repeated Sing! a few times since, most recently earlier this year as (almost) the first outing for the Great Organ after extensive refurbishment, again played by Jane Watts. I will never forget the roar of the mighty organ restored to all its glory, the resounding 'Hallelujahs' of The Really Big Chorus, and the even more tumultuous applause that followed.

The 'from Scratch' movement continues to grow. We are flattered by many imitations, but none of them has the courage to wade straight in to Messiah as we will do tonight. Cowards! The Really Big Chorus now gathers three times each year in the Royal Albert Hall. Members answer our 'Come and Join In' call for expeditions to the cultural centres of Europe, recently to Salzburg and soon to Leipzig, Halle (Handel's birthplace) and Dresden. There are also choral cruises to wonderful destinations. To help us cope with all this activity, Ann and I have recently been joined by Trevor Ford, Tony Hastings and Marianne Barton who are helping to ensure the future success of our endeavours. Thirty years is a long time, but I hope to be able to welcome you to our 'Scratch' events for many more years to come.